A HARIMA TANTO

Details
A HARIMA TANTO
3MUROMACHI PERIOD, DATED 1489, SIGNED TAME KAMIYAMA SURUGA NYUDO SHUKEN HYOBU SHOYU [NO] MINAMOTO ASON MASANORI SAKU

Configuration (sugata): flat (hira-zukuri) with shallow peaked back (iori-mune); length (nagasa): 6 sun (18.2cm.); curvature (sori): uchizori.
Forging pattern (jihada): itame with ji-nie.
Tempering pattern (hamon): gonome ko-notare in nioi and ko-nie and intermixed with some 'swept sands' (sunagashi).
Point (boshi): long and pointed with a ko-maru, and the tempering continuing along the back of the blade (muneyaki).
Tang (nakago). Shape (keitai): long in proportion to the blade and unshortened (ubu); file marks (yasurime): slanted (katte-sagari); end (nakagojiri): rounded 'V' (kurijiri); holes (mekugi-ana): (one plugged); signature (mei): Tame Kamiyama Suruga Nyudo Shuken Hyobu Shoyu no Minamoto no Ason Masanori saku (Made for Tonsured Kamiyama Shuken of Suruga, by Palace Guard Officer Minamoto no Ason Masanori).

Shirasaya with attestation by Sato Kanzan.

Aikuchi koshirae comprising: widely ribbed black lacquer saya decorated with black hiramaki clouds and inlaid in gold with the conjoined constellation signs of Andromeda and Pegasus and mounted with a gilt kurikata plate in Chinese style depicting two dragon fish,and with a gold foil-covered bronze ring, Tumulus period (400-700 A.D.), and a pair of silver flowerhead fittings on one side; the tsuka mounted with a pair of gold menuki formed as dragons, attributed to Goto Teijo (1603-1673, the ninth Shirobei mainline master of the Goto school), and a fuchi, handachi-style kashira and o-kojiri decorated with scrolling clouds on an ishime ground.-- Length of koshirae 40.6cm.; length of tsuka 13.7cm.

Wood storage box. Brocade and silk storage bags.

Accompanied by a juyo token certificate issued by the N.B.T.H.K., dated Showa 50 (l975).
Provenance
Inaba family, daimyo of Yodo in Yamashiro
Literature
Juyo token to zufu, vol. 23.
Sato Kanzan oshigata, no. 14.
Koyama, "Akamatsu Masanori to Noami-bon Meizukushi" (1976), pp. 2-7.
One Hundred Masterpieces (1992), no. 39.

Lot Essay

Masanori was the artist name (go) of Akamatsu Jiro, daimyo of Shirahata in Harima and a retainer of the Ashikaga. He was descended from Minamoto Morofusa of the Murakami-Genji. He made blades for himself in his leisure time, having as his teachers employees of the Akamatsu Family, the illustrious Bizen swordsmiths, Katsumitsu and Munemitsu. As seen in the inscription on this example, most of his blades were made as gifts for men of influence. See Daitokuji bunsho for more specific geneologies.

Only fourteen of his blades (including this example) are known to exist. They include dates ranging from Bunmei 14 (1482) to Mei-o 3 (1494).

Kamiyama was a retainer of Iio Kiyofusa, who was bugyo (shogunal viceroy) of the bakufu. Called Miyoshi Kazutsure, Kamiyama is cited in Seisaku daisojo-ki as seeking the position of daikan (Ashikaga governor of a feudal fief in the absence of the titular owners) of Obu no sho, Bizen Province, as a sosha of Urakami Norimune. In that position, he was able to serve as mediator between Masanori and the Osafune swordsmiths, Ukyo-no-Suke Katsumitsu and Sakyo-no-Suke Munemitsu. Kamiyama was able to successfully negotiate the employment of these two smiths for the private use of the Akamatsu family, earning him the gratitude of Masanori.